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CATALOGUE  OF  THE 
WORKS  OF  ANTOINE- 
LOUIS  BARYE 


THE  LIBRARY 

OF 

THE  UNIVERSITY 

OF  CALIFORNIA 

LOS  ANGELES 


BARYE 


1 


1796— 1 87  J 


CATALOGUE 


OF  THE  WORKS  OF 


Antoine-Louis  Barye 

EXHIBITED 

AT   THE   AMERICAN   ART   GALLERIES 

6  EAST  23D  STREET,  NEW  YORK 

UNDER   THE   AUSPICES  OF  THE 

BARYE    MONUMENT  ASSOCIATION 

ALSO   OF  PAINTINGS   BY 

J.  F.  MILLET  J.  B.  C.  COROT 

TH.   ROUSSEAU  C.   TROYON 

C.  F.  DAUBIGNY  JULES  DUPR6 

N.   DIAZ  E.  DELACROIX 

A.  G.  pf  CAMPS  J.  L.  A.  T.  GERICAULT 

HIS  CONTEMPORARIES  AND  FRIENDS 
FOR  THE  BENEFIT  OF  THE 

BARYE  MONUMENT  FUND 


NOVEMBER.  1889 


Press  of  J.  J.  Little  &  Co, 
Aster  Place,  New  York. 


Alt  Library 

5' 5  3 

5  5  sqeaq 


THE 

Barye  Monument  Association 

OF    NEW    YORK 

ORGANIZED  FOR  THE  PURPOSE  OF   RAISING  FUNDS  FOR 

THE   ERECTION  OF  A  MONUMENT    IN  PARIS 

TO  ANTOINE-LOUIS  BARYE 

President 
William  T.  Walters 

Vice-Presidents  Auditors 

Cyrus  J.  Lawrence  Thomas  B.  Clarke 

Henry  G.  Marquand  Theodore  Kane  Gibbs 

James  C.  Welling  Harry  Walters 

Secretary  Treasurer 

Charles  de  Kay  Cyrus  J.  Lawrence 


Committee  on  Selection  and  Catalogue 

Cyrus.  J.  Lawrence  Thomas  B.  Clarke 

\V.  M.  Laffan 

Committee  on  Publication 
W.  M.  Laffan  A.  W.  Drake 

Charles  de  Kay   ' 


ANTOINE-LOUIS  BARYE. 

A   NOTE   BY   M.    L^ON   BONNAT. 
(Front  the  Gazette  des  Beaux  A  ris.) 

*  *  *  I  NEVER  saw  Barye,  but  I  have, 
nevertheless,  always  truly  worshipped  him. 

Barye  has  been,  and  still  is,  one  of  my  idols. 

How  often  have  I  been  at  the  Luxembourg, 
only  to  see  his  "  Jaguar  devouring  a  Hare  "  ! 

How  many  times  have  I  traversed  the  Tuileries 
to  gaze  upon  the  paw  of  his  "  Lion  and  Serpent " 
— ^that  tragic  paw  so  wonderfully  analyzed  and 
modelled  ! 

Barye  seldom  spoke  of  himself.  I  have  read 
biographies  written  by  men  who  knew  him  well, 
who  held  his  talent — I  should  say  his  genius — in 
the  utmost  veneration,  and  rightly  so.  Th^y  gave 
many  details  concerning  his  works,  of  his  manner 
of  living  and  working,  of  his  general  character;  but 
not  one  of  them  could  reveal  the  true  secret  of  his 
inspiration,  or  tell  from  what  source  he  drew  his 
genius.  He  was  taciturn,  uncommunicative,  ob- 
servant, and,  as  I  well  know,  devoted  wholly  to  his 
art,  passionately  revering  it,  and  analyzing,  meas- 
uring, dissecting,  and  studying  incessantly  the  ana- 
tomy and  proportions  of  his  models.  That  I  know, 
and  that  is  true  science — the  wonderful  science  that 
helped  him  to  produce  so  many  chefs  d'oeuvrt,  and 
which  is  not  to  be  under-estimated. 


o  BAR  YE. 

But  that  of  which  I  am  ignorant,  which  I  would 
like,  above  all,  to  know,  is,  what  transpired  in  his 
soul.  Whence  originated  this  instinctive  knowl- 
edge of  wild  animals,  this  divination  of  savage 
power,  unerring  in  its  force,  this  fascination  for 
the  mighty  shapes,  which  move  so  majestically, 
so  nobly,  in  their  enduring  strength  ?  At  what 
moment  of  his  life  did  this  great  man,  who  com- 
menced as  an  apprentice  to  a  steel  engraver,  a 
simple  metal  chaser,  discover  within  himself  the 
noble  sentiment  which  guided  his  power  and  genius? 
To  what  did  he  owe  the  conception,  the  revelation 
of  this  beauty,  which  brings  man  nearer  to  his 
God,  and  makes  of  him  almost  a  creator  ?    *     *    * 

Failing  the  actual  knowledge  which  would  inform 
us  when  his  genius  first  manifested  itself,  a  knowl- 
edge in  which  almost  all  the  biographies  of  cele- 
brated men  are  deficient,  let  us  not  lose  ourselves 
in  useless  conjecture,  but  be  content  with  the  facts 
which  have  been  demonstrated.  Thus,  from  his 
own  words,  we  know  that  being  "  keenly  tormented 
by  his  intehse  desire  to  become  a  sculptor,"  he  en- 
tered the  studio  of  Bosio,  where,  it  appears,  never- 
theless, he  did  not  remain  any  length  of  time,  since 
we  soon  afterwards  find  him  with  Orgs.  What  led 
him  to  seek  instruction  from  a  painter  ?  Was  he 
attracted  thither  by  a  certain  affinity  of  thought  ? 
Was  it  from  this  Gros,  he  who  painted  the  "  Ba- 
taille  d'Eylau,"  that  he  drew  his  love  for  the  heroic 
which  later  inspired  him  to  the  creation  of  "  The- 


BAR  YE.  7 

seus  and  the  Centaur  "  ?  Rather,  may  it  not  be  to  the 
Ass)n-ians  and  Egyptians,  whose  works  he  so  vener- 
ated, and  whose  works,  as  well  as  the  Etruscan  vases, 
he  never  ceased,  even  in  his  old  age,  to  contemplate 
and  study, — may  it  not  be,  I  repeat,  to  the  influence 
of  the  old  masters  that  we  ought  to  assign  the  in- 
spiration of  his  talent  ? 

However  pronounced  may  be  the  originality  of 
an  artist,  however  profound,  which  is  decidedly 
the  term  to  employ  in  speaking  of  Barye,  it  is 
very  difficult,  even  to  one  possessing  the  utmost 
perspicacity,  to  discover  how  much  belongs  to  his 
own  personality,  and  how  much  has  been  borrowed 
from  his  predecessors.  Look  at  Raphael,  for  in- 
stance :  he  may  copy,  study  his  surroundings, 
become  inspired  by  what  he  sees  and  what  he 
believes  to  be  greater  than  himself,  yet  he  still  re- 
mains the  painter  of  grace  and  youth.  Would 
Michael-Angelo,  the  Great,  have  painted  the  Sis- 
tine  Chapel  without  Signorelli  ?  The  greatest  of 
all  artists,  though  he  were,  would  he  have  invented 
alone  these  Titanic  groups  ?  And  without  looking 
so  high  or  so  far,  and  taking  more  recent  examples, 
would  our  celebrated  school  of  artists  have  had  its 
present  renown  and  prestige  without  Constable  ? 
The  problem  is  a  difficult  one  to  solve,  and  is,  per- 
haps, outside  of  the  limits  of  this  article. 

Besides,  it  is  not  Barye  as  a  sculptor  of  the 
human  form  whom  we  have  under  consideration, 
however  admirable  may  be  his  group  of  **  Theseus 


8  BAR  YE. 

and  the  Centaur,"  however  graceful  the  superb 
grouping  of  "  Roger  and  Angelica."  What  does 
concern  us  is  that  in  which  he  is  absolutely  unique, 
that  which  did  not  exist  before  him,  that  which  he 
has  conveyed  with  the  skill  of  a  great  master,  which 
is  and  will  remain  his  unquestioned  and  unques- 
tionable glory.  The  animal,  the  true  animal,  living, 
roused,  tragic,  passionate,  quivering,  ferocious, 
cruel,  fierce,  and  apprehensive,  calm  in  his  power, 
sure  of  his  suppleness,  of  his  speed,  of  the  strength 
of  his  jaws,  and  the  unerring  aim  of  his  blow.  This 
is  the  subject  upon  which  I  would  have  liked  to 
converse  with  Barye.  To  know  whence  this  love, 
so  true,  deep,  and  intense,  originated. 

Those  who  knew  him  said  he  had  in  his  features, 
in  the  squareness  of  his  jaw,  in  the  expression  of 
his  lips,  and  the  form  of  his  mouth,  something  akin 
to  the  tawny  beasts  he  sculptured.  *  *  *  * 
He  was  reticent,  I  know,  and  must  have  been  some- 
what cold  and  excessively  reserved,  and  had  the 
slightly  scornful  and  haughty  demeanor  which  is 
characteristic  of  many  great  men  who  are  but  im- 
perfectly understood.  His  emotions  were  deep  and 
underlying,  as  are  those  of  the  truly  great.  Those 
of  others  never  go  beyond  the  surface. 

What  a  wonderful  observer,  what  a  sagacious 
mind,  and  what  an  analyst !  What  extraordinary 
instinct,  what  admirable  intuition  of  the  animal ! 
Whether  he  modelled  a  deer,  a  serpent,  an  eagle, 
or  a  tiger,  he  conveyed  them  faithfully,  character- 


BAR  YE.  9 

istically,  in  their  smallest  details.  Nothing  escaped 
his  notice. 

*  *  *  They  tell  me  Barye  loved  Barbizon. 
There  were  his  quiet  walks  in  the  forest,  solitary 
promenades,  where  he  rested  from  the  wearing  life 
of  Paris,  where  he  encountered  his  graceful  models 
and  mastered  the  details  of  their  most  unpremedi- 
tated movements  and  fleeting  expressions. 

But  the  timid  and  shy  were  only  a  pastime  for 
him,  and  it  was  not  in  creating  them  that  he  gave 
full  scope  to  the  intensity  of  his  genius.  It  was 
the  warring  of  savage  animals  that  this  great  en- 
thusiast demanded,  the  carnivorous  animals  ;  the 
poisonous  jungle,  the  forests  of  thorny  mimosas, 
where  he  could  study  the  king  of  the  forest  in  his 
lair,  with  his  heaving  flanks  and  tawny  mane,  lit  up 
by  two  lurid  sparks.  He  required  the  spectacle  of 
elephants  crushing  tigers,  gigantic  serpents  darting 
with  the  rapidity  of  lightning  upon  the  passing  an- 
telope to  suffocate  it  in  their  terrible  coils,  the 
lioness  on  a  rocky  height  scenting  the  air,  her 
powerful  muscles  contracted,  ready  to  spring  upon 
her  prey,  or  the  huge  elephants  of  antediluvian 
races,  crossing  plains  and  mountains  under  a  fiery 
sun,  and  destroying  ever)rthing  in  their  ponderous 
passage.  These  were  the  scenes  which  made  the 
paradise  of  Barye,  this  the  world  wherein  his  im- 
agination loved  to  dwell,  his  true  kingdom,  his 
beyond  all  dispute. 

And  no  one  before  him  knew  how  to  wield  the 


lO  BAH  YE. 

sceptre.  No  one  before  him  knew  how  to  interpret 
the  unconscious  strength  of  the  lion,  with  his  mas- 
sive carriage,  or  the  cunning  and  the  cruel  feroc- 
ity of  the  tiger  and  the  jaguar. 

Look  at  his  group  in  the  Tuileries.  A  lion  is 
passing,  a  boa-constrictor  bars  his  way,  the  terrible 
paw  descends,  and  while  the  serpent,  held  as  within 
a  vice,  writhes  with  agony,  and  in  a  final  supreme 
effort,  in  the  death  throes,  tries  to  defend  itself,  the 
powerful  beast  remains  unmoved  before  his  treach- 
erous foe ;  hardly  does  he  deign  to  turn  his  gigantic 
head  and  only  slightly  erects  his  mane.  Now  and 
then  he  responds  v/ith  a  low  growl  to  the  sibilant 
hisses  of  his  despairing  enemy.  But  the  paw  exe- 
cutes, that  wonderful  paw,  and  all  is  there  embodied. 
Admire  it, — the  hair  turned  backward  to  allow  the 
claws,  those  terrible  weapons,  to  penetrate  unhin- 
dered, to  move  back  and  forth  in  their  sheaths, 
and,  sharp  as  daggers,  they  have  only  to  close  and 
unclose,  and  all  will  have  been  told,  the  tragedy 
enacted. 

*  *  *  But  out  of  all  this  world  of  savage 
animals  to  which  Barve  owed  so  many  of  his  chefs- 
doeuvre  it  is  rather  upon  the  tiger  and  its  species, 
the  jaguars  and  panthers,  that  I  would  bestow  the 
palm.  Look,  for  instance,  at  his  •*  Walking  Tiger  " ; 
it  is  simply  a  marvel. 

In  my  younger  days  I  have  been  at  the  menag- 
erie, and  there,  drawn  to  and  held  by  the  beauty 
of  these  great  creatures,  I  have  remained  for  many 


BAR  YE.  II 

hours,  watching  the  huge  felines  pace  mechanically 
the  floors  of  their  too  narrow  prisons.  The  heavy 
paw  doubles  with  admirable  suppleness,  the  shoul- 
der-blades rise  and  fall,  the  limbs  move  with  an 
ease  full  of  grace  and  harmony.  One  is  fascinated, 
charmed,  and  remains  riveted  to  the  spot  in  a  state 
of  unreflecting  contemplation.  If  a  dog  passes  near 
the  grating,  the  beast  stops  abruptly,  raises  its  great 
head,  the  burning  eyes  fixed  upon  the  animal, 
until  the  latter  disappears,  when  the  emotion  sub- 
sides, the  purposeless  pacing  is  resumed,  the  fire 
dies  out  of  the  eyes,  and  the  tiger  lies  down,  or 
yawns  with  weariness,  exposing  its  gleaming  teeth. 

Pitiful,  great  prisoners,  created  to  range  over 
limitless  space,  to  live  under  tropical  suns  in  un- 
trammelled freedom,  and  who  so  wretchedly  exist 
here  in  the  mists  of  Paris  and  the  fogs  of  the  North! 

The  apprentice  metal  chaser  must  have  often 
played  truant  to  spend  some  hours  of  contemplation 
here,  pressing  against  the  iron  bars  of  the  grating, 
and,  perhaps,  his  heart  throbbing  at  the  revelation 
of  beauty  with  the  presentiment  that  the  day  would 
come  when  he  would  struggle  with  these  proud 
models.  And  he  was  true  to  his  convictions — and 
from  the  conflict  came  forth  a  conqueror.  Look  at 
his  tiger !  Everything  is  so  wonderfully  depicted 
in  it ;  the  proportions,  the  suppleness  of  the  limbs, 
the  grandeur  of  movement,  the  carriage  of  the  head, 
the  size  and  development  of  the  jaws,  the  shagginess 
of  the  hair  and  the  half -closed  eyes.     It  is  perfect 


12  BAR  YE. 

and  it  is  admirable.  And  if  from  the  tiger  Barye 
passes  to  the  panther,  he  must  represent  it  in  am- 
bush, or  springing  upon  a  deer,  and  how  admirable 
is  not  it  also  !  The  panther  springs  and  pounces 
with  its  whole  weight,  and  with  unerring  precision, 
upon  its  victim  and  seizes  it  with  its  formidable  teeth. 
The  great  paws  spread  widely  apart,  one  upon  the 
withers  and  the  other  upon  the  forehead,  and  in 
addition  to  these  terrible  weapons,  the  ferocious 
beast  avails  itself  of  its  weight  to  arrest  and  para- 
lyze the  frightened  animal,  which,  overcome  by 
force,  crushed  by  its  tormentor,  bows  its  head,  and 
quivering,  bathed  in  the  sweat  of  death,  utters  a  cry 
of  supreme  agony. 

I  come  now  to  the  "  Jaguar  devouring  a  Hare." 
I  believe  that  in  the  opinion  of  all  it  is  the  work  of 
works  of  this  man  who  has  produced  so  many.  It 
is  as  fine  as  the  "  Esclave  "  of  Michael-Angelo  at 
the  Louvre.  With  his  mouth  the  jaguar  has  seized 
the  hare  by  the  entrails  ;  the  right  paw  is  thrust 
forward,  his  nails  lacerate  the  abdomen  of  the 
victim,  and  slowly,  crouched  to  the  earth,  grovelling 
like  a  snake,  he  goes  to  devour  the  hare  in  the 
obscurity  of  his  den.  He  anticipates  his  feast 
with  intensely  ferocious  joy,  "  avec  la  volupU  gour- 
mande  du  sang,"  as  Edmond  de  Goncourt  says  in 
his  able  description  of  the  jaguar.  His  ears  are  laid 
back  against  his  neck,  the  great  muscles  of  which 
denote  strength.  Nervous  tremors  run  along  the 
length  of  his  spine  to  the  last  vertebra  of  his  tail ; 


BAR  YE.  13 

the  savage  eyes  converging  to  the  centre  have  the 
horrible  fixity  of  the  eye  of  a  viper.  Woe  to  him 
who  should  attempt  to  rob  him  of  his  prey  !  There 
breathes  from  this  wonderful  bronze  thus  conceived 
and  executed  an  atmosphere  of  ferocity  and  savage- 
ness  that  is  extraordinary.     It  is  genius. 

Barve  is  one  of  the  greatest  artists  of  the  age, 
I  may  even  say  of  all  the  ages.  If  I  had  a  com- 
parison to  make  I  should  think  of  Balzac.  Barye 
has  understood  the  animal  and  conveyed  it  with  a 
power  equal  to  that  which  Balzac  has  manifested 
in  those  passionate  researches  in  which  he  has  so 
powerfully  interpreted  the  heart  of  man.  Both 
have  left  their  ineffaceable  stamp  upon  the  world. 
There  may  be  others  who  could  do  as  well,  but  I 
doubt  it ;  none  could  ever  excel. 


NOTE. 

Dimensions  are  given  in  inches.  The  height  in- 
cludes the  bronze  base,  and  length,  the  extreme 
points  of  the  object.  The  first  figures  indicate  the 
height,  the  second  the  length. 

Exception. — The  height  and  width  of  the  bronze 
plate  is  given  for  the  bas-reliefs. 


The  dates  inclosed  in  brackets  throughout  the 
catalogue  indicate  the  year  when  the  objects  were 
first  exhibited,  either  in  plaster  or  bronze. 


CATALOGUE. 


COLLECTION— W.    T.  WALTERS,    Esq. 
BRONZES. 

1  Elk  Hunt.       Unique.     (1834.)  20x19^ 

2  Bear  Hunt.      Unique.     (1834.)  18x17 

3  Bull  Hunt.       Unique.     (1834.)  18x25 

4  Tiger  Hunt.       Unique.     (1834.)  27x32 

The  above,  Nos.  i,  2,  3,  and  4,  were 
made  for  the  Due  d'Orleans. 

5  Roger  and  Angelica,  mounted  on  Hip- 

pogriff.     (1846.)  20x27 

6  Candelabras  (pair),  with  9  lights,  dec- 

orated with   6   figures,  mascarons 
and  chimeras,     (1846.)  37 

The  originals  of  the  above,  Nos.  5  and 
6,  were  made  for  the  Due  de  Mont- 
pensier. 

7  Jaguar  Devouring  a  Hare.     (1850.)       15^x38 

Exhibited  in  Bronze  at  the  Universal 
Exposition  in  1867,  a  first  proof, 
which  was  purchased  by  the  French 
Government  in  1852,  and  is  now 
deposited  in  the  Louvre. 


1 6  COLLECTION— W.    T.    WALTERS. 


8  Lion  Walking.     Silver.       (1863.)  13x24^ 

Unique. 

9  Theseus  and  Minotaur.     (1848.)  18x1  if 

10  Theseus  and  Centaur  Bienor.  i3ix  14^ 

(1850.) 

11  Two  Arab  Horsemen  Killing  a  Lion.  T4ix  15 

12  Arab  Horseman  Killing  a  Lion.  15  x  14 

Numbered  12. 

13  Tartar  Warrior  Checking  his  Horse.  14  x  14 

14  Gaston  de  Foix.     (1833.)  14^x11^ 

15  General  Bonaparte.     (1838.)  14x13 

16  Charles  VII.,  the  Victorious.     (1837.)  ii|xio 

Gilt  bronze,  arabesque  base,  on  marble  base. 

17  Duke  of  Orleans.     (1840.)  14x13 

18  Amazon,  Costume  of  1830.  i4i-x  14 

19  Elephant,  with  Indian  Mounted, 

Crushing  Tiger.     (1837.)  10^x12 

20  Elephant  Crushing  a  Tiger.  8|  x  12 

21  Elephant  of  Cochin-China.       Model.  6x10 

22  Elephant  of  Senegal.  51.  x  7I 


BRONZES.  17 

23  Elephant  of  Asia.       (1833.)  5x8 

24  Panther  Seizing  a  Stag.  15  x  22 

25  Panther  Surprising  a  Civet-Cat.  4x9 

26  Panther  of  India.       Reduction.  3^x8 

27  Panther  of  Tunis.  3|  x  7^ 

(1840.)    Reduction. 

28  Tiger  Devouring  a  Gazelle.  Six  12 

29  Tiger  Devouring  a  Gavial  (crocodile).  7^x  19^ 

(1831.) 

30  Tiger  Devouring  a  Gavial  (crocodile).  3^  x  10 

(1831.)       Reduction. 

31  Tiger  Surprising  a  Deer.  6^x  10 

Numbered  7. 

32  Tiger  Surprising  an  Antelope.  i  x  20 

Produced  by  galvano-plastic  process. 

33  Lion  Seated  (No.  I ).       (1847.)  14x12 

34  Lion  Seated  (No.  2).  8x6^ 

35  Lion  Seated  (No.  3).  7x6 

Head  Turned  to  Right. 

36  Lion  and  Serpent  (No. . I ).       (1832.)  10x12 

2 


x8 


COLLECTION— W.   T.    WALTERS. 


37  Lion  and  Serpent  (No.  2).       Model.         8  x  6i 

38  Lion  and  Serpent  (No.  2).  6|  x  8 

39  Lion  and  Serpent  (No.  3).       Sketch.  5x7 

40  Lion  Devouring  a  Doe.  5x11 

Dated  1837.       Numbered  11. 

41  Lion  Holding  an  Antelope.  4^  x  10 

Dated  1835.       Numbered  17. 

42  Lion  of  the  Column  of  July.  8^  x  i6| 

Bas-relief.       Dated  1838. 

43  Lion  Seated.     Sketch.  10x13 

Modem. 

44  Lion  Marching.       (1836.)  9x16 

45  Tiger  Marching.       (1836.)  8^x16^ 

46  Lioness  of  Senegal.  8x11^ 

47  Jaguar  Sleeping.  3l  x  9 

48  Jaguar  Devouring  a  Crocodile.  3  x  9^ 

49  Jaguar  Devouring  an  Agouti.     (1847.)     2\•x.^i 

Numbered  90.  Sketch  for  the  Jaguar 
Devouring  a  Hare,  No.  7  of  this 
catalogue. 


BRONZES.  19 

50  Jaguar  Walking  (No.  i).  4|  x  8^ 

51  Jaguar  Standing  (No.  i).  4f  X7i 

Dated  1840.       Numbered  43. 

52  Ocelot  Carrying  a  Heron.  6^x  11^ 

53  Bear  Overthrown  by  three  Mastififs.  10  x  13^ 

Model.      (1833.) 

54  Bull  Dragged  to  Earth  by  Bear.    (1839.)  5^  x  11 

55  Bear  in  Trough.     (1834,)       Modem.  4^  x  5 
$6  Two  Young  Bears  Fighting.       (1833.)  8^x6 

57  Bear  Standing.  9^x4 

58  Bear  Standing,       Model.  95^x4 

59  Wolf  Walking.  8^x15 

Inscribed  on  base :  "A   I'ami    Rous- 
seau, son  admirateur  A.  L.  Barye. " 

60  Ape  Riding  a  Gnu.  9  x  10 

Numbered  i. 

6i  Ape  Riding  a  Gnu.  9  x  10 
Numbered  27. 

62  Greyhound  and  Hare.-  8x13 

63  Virginia  Deer  Scratching  his  Side.  10  x  13 

Dated  1837.      Numbered  8. 


20  COLLECTION— W.    T.    WALTERS. 

64  Deer  Marching.  8x8 

Numbered  29. 


65  Deer  in  Repose  Standing. 

9x8 

66  Deer  Listening. 

7ix6f 

Dated  1838. 

67  Deer  with  Foot  Raised. 

7ix6f 

68  Doe  Lying  Down. 

3^X5 

Numbered  35. 

69  Fawn  Lying  Down. 

if  X4| 

70  Stag  Braying. 

5ix6 

71  Deer  of  Java. 

5ix7 

72  Elk  Standing. 

5ix4i 

73  Goat  Feeding. 

4x3 

74  Buck  Alarmed. 

2f  X3 

75  Dromedary  of  Algiers.      Reduction. 

5ix6| 

76  Dromedary  of  Egypt  Harnessed. 

10x9^ 

77  Beagle  Seated. 

5x10 

78  Beagle  Seated. 

Six  10 

79  Beagle  Standing. 

6  X  12 

BRONZES. 

21 

80  Spaniel  and  Duck.       Reduction. 

2|X4 

81  Pointer  Stopping. 

2ix3i 

Small. 

82  Greyhound  Sleeping. 

2^X  10 

Numbered  2. 

83  Greyhound  Reclining. 

17^X33 

Model. 

84  Bull  on  the  Defensive. 

7x11^ 

85  Bull  Rearing. 

8^X11 

86  Crocodile  Devouring  an  Antelope. 

6^  X  i4i 

Model. 

87  Python  Strangling  a  Gazelle. 

6x13 

88  P3rthon  Crushing  a  Crocodile. 

6Jxio^ 

89  Python  Swallowing  a  Doe. 

3}xioJ 

Dated  1840.     Numbered  2. 

90  Juno. 

12 

Gilt. 

.91  Minerva. 

12 

cat. 

92  Pheasant  Walking,  Tail  divided. 


4|x8i 


22  COLLECTION— W.    T.    WALTERS. 

93  Owl,  Wings  Extended,  with  Rat.  3i  x  6 

94  Hare,  Ears  Erect.  3  x  if 

95  Rabbit,  Ears  Erect.  2x2^ 

96  Rabbit,  Ears  laid  Back.  i|  x  2\ 

97  Rabbit,  Ears  laid  Back.  1^  x  2\ 

98  Rabbit,  Ears  Erect.  \\  x  2\ 

99  Eagle  and  Serpent.  4x6 

Bas-relief. 

100  Eagle  and  Chamois.  4f  x  ^\ 

Bas-relief. 

101  Horse  Attacked  by  Lion.     (1833.)  15^x15 

102  Horse,  Turkish,  Right  Foot  Raised,  ii^x  11 

(No.  2.) 

103  Horse,  Half  Blood,  Head  Lowered.  7^x  11^ 

104  Horse,  Half  Blood,  Head  Lowered.  4|  x  i\ 

Reduction. 

105  Horse,  Half  Blood,  Head  Erect.  5x7 

Reduction. 

106  Arab  Horseman  Killing  a  Boar.  lox  12 

107  Boar  Wounded.  6x8 


PLASTER  AND   WAX.  23 

108  Eagle  on  Rock  with  Heron.  12  x  12^ 

109  The  Seine.  23  x  33 

(Pair.)    Modem. 

1 10  Bust  of  A.  L.  Barye,  by  Moullin.  23 

in  Candelabras  (pair),  with  3  Lights, 
Antique  Design,  Ornamented  with 
Serpent,  Leaves,  Chimeras,  Claw 
Feet  and  Surmounted  with  Storks.   31^ 

PLASTER   AND  WAX. 

112  Panther  of  Tunis.  4x8 

Reduction.  (1840.)  Plaster  Model 
retouched  with  Wax, 

113  Tiger  Devouring  a  Gazelle.  Six  12 

Plaster  Model. 

1 14  I^ion  Walking  and  Roaring,  4^  x  7 

Bas-relief.     Plaster  Model,  unique. 

1 14a  Milo  of  Crotona.         , 

Plaster  proof.  Diameter,  2I  inches. 
Executed  by  Barye  in  1819  for  the 
Annual  Competition  for  the  "  Prix 
de  Rome,"  at  the  ]^cole  des  Beaux 
Arts. 


24        COLLECTION— CORCORAN  GALLERY. 


COLLECTION— CORCORAN   GALLERY   OF 
ART. 

BRONZES. 

115  General  Bonaparte.      (1838.)  14x13 

116  Duke  of  Orleans.       (1840.)  14x13 

117  Amazon,  Costume  of  1830.  14^x14 

118  Gaston  de  Foix.       (1833.)  i4jxii|^ 

119  Charles  VII.,  the  Victorious.  (1839.)   ii|^xio 

120  Tartar  Warrior  Checking  his  Horse.  132^x13! 

With  bronze  stand,  arabesque. 

121  Two  Arab  Horsemen  Killing  Lion.       14I-X15 

122  African  Horseman  Surprised  by  Serpent. 

8|x  10 

123  Elephant  with  Indian  Mounted, 

Crushing  Tiger.  io|^xi2 

124  Roger    and    Angelica,  Mounted   on 

Hippogriff.  20  X  27 

(1846.) 


BRONZES.  25 

125  Candelabras    (pair),   with    9    lights, 
decorated  with  6  figures,  mascarons 

and  chimeras.     (1846.)  37 

The  originals  of  this  and  No.  124  made 
for  the  Due  de  Montpensier. 

26  Minerva.  12 

27  Juno.  12 

28  Theseus  and  Minotaur.       (1848.)        .  18  x  10 

29  Theseus  and  Centaur.       (1850.)  13^x14!^ 

30  Ape  Riding  a  Gnu.  9  x  10 

31  Two  Young  Bears  Fighting.     (1833.)  8|^x6 

32  Bear  Sitting.  5  J  x  6^ 

33  Beagle  Standing.              '  6  x  8| 

34  Stag  HoMing  a  Wolf  by  the  Throat.  8x17 

35  Two  Young  Lions  Wrestling.  8x6 

36  Lion  Devouring  a  Doe.       (1837.)  5x11 

37  Lion  and  Serpent  (No.  i).       (1832.)  10  x  12 

38  Lion  Sitting  (No.  i).       (1836.)  14x12 

39  Lioness  of  Senegal.  8x11^ 

40  Lioness  of  Algiers.  8x11^ 


26        COLLECTION— CORCORAN  CALLER  Y. 


141  Lion  Walking.       (1836.)  9  x  16 

142  Tiger  Walking.       (1836.)  8^x16^ 

143  Tiger  Surprising  an  Antelope.  13^  x  24 

144  Tiger  Surprising  a  Deer.  ^       6^  x  10 

145  Tiger  Devouring  a  Gavial  (crocodile).  7^x19^^ 

(1831.) 

146  Tiger  Devouring  a  Gazelle.  Si^  ^^ 

147  Panther  Seizing  a  Stag.  15x22 

148  Panther  of  India.  5  x  i^i 

149  Panther  of  Tunis.       (1840.)  Sixio^p 

150  Panther  Surprising  a  Civet-Cat.  4x9 

151  Jaguar  Walking  (No.  i).  4fx9 

152  Jaguar  Standing  (No.  i).       (1840.)  5x9 

153  Jaguar  Sleeping.  3^x9 

154  Jaguar  Devouring  Crocodile.  3x9^ 

155  Ocelot  Carrying  a  Heron.  6^x11^ 

156  Elephant  of  Asia.       (1833.)  5x8 

157  Elephant  of  Africa.  ^             5  x  7i 


BRONZES.  27 

158  Horse  Surprised  by  a  Lion.     (1834.)  15J  x  15 

159  Horse,  Half  Blood,  Head  Lowered.  7^x  ii|' 

160  Horse,  Turkish  (No.  2).  ii^x  12 

Right  Foot  Raised. 

161  Horse,  Turkish  (No.  2).  11^x12 

Left  Foot  Raised. 

162  Dromedary,  Egyptian,       Reduction.  5f  x6f 

163  Elk  Surprised  by  a  Lynx.       (1834.)  8^x  ri|^ 

164  Deer  Attacked  by  Two 

Scotch  Hounds.      (1833.)  17x21 

165  Stag,  Doe,  and  Fawn.  9  x  8 J 

166  Virginia  Deer  Biting  its  Side.     (1837.)  10x14 

167  Bull  on  the  Defensive.       (1841.)  7x11^ 

168  Bull  Rearing,  Attacked  by  a  Tiger.  9x11 

(1837.) 

169  Bull  Dragged  to  Earth  by  a  Bear.  5i  x  n 

(1839.) 

170  Eagle  Holding  a  Heron.  12  x  12^ 

171  Crocodile  Devouring  an  Antelope.  6^  x  14 


28        COLLECTION— CORCORAN  CALLER  Y. 

172  Python  swallowing  a  Doe.  Sixio^ 

(1840.) 

173  Python  Strangling  a  Gazelle.  6  x  13 

174  Python  Crushing  a  Crocodile.  6^  x  10 J 

(1840.) 

175  Huntsman,  Costume  Louis  XV,  7ix  7 

176  Bear  Overthrown  by  three  Mastiffs.      10  x  13!^ 

(1833.) 

177  Bear  Flying  from  three  Dogs.  12  x  18 

178  Greyhound  and  Hare.  8x13 

179  Wolf  Walking.  9  x  14 

180  Greyhound  Reclining.  2^x10 

181  Buffalo  of  Egypt.  6x8 

182  Camel  (Head  Turned  to  Right).  4^X4^^ 

183  Greyhound  Sleeping.  7^x13^ 

184  African  Badger  Robbing  Nest.  4x6 

185  Lion  of  the  Column  of  July.  8|^  x  i6\ 

(1838.)     Bas-relief. 

186  Warrior  of  the  Caucasus.  7 J  x  6^ 


BRONZES.  29 

187  Peasant  (Mediaeval).  12  x  lo 

188  Leopard  Crouching.  3x7 

189  Deer.       (Axis.)  5  x  5i 

190  Deer  of  the  Ganges.  "                        ^i  x  ^i 

191  Bull  Standing  (small).  3^  x  5^ 

192  Card  Receiver.       Fawn's  Feet.  3fX7^ 

Ornamented  with  Grapes. 

193  Card  Receiver.  5^X7 

Ornamented  with  Owls  and  Panthers'  Heads. 

194  Candlestick.  10  x  10 

2  Lights.     Ornamented  with  Owls  and 
Panthers'  Heads. 

195  Candlestick.  7  x  3j- 

Ornamented  with  Owls  and  Panthers'  Heads. 

196  Candlestick.  10x4^ 

Greek  Design,  with  Syracuse  Medallions. 

197  Candlestick  with  Fawn's  Feet.  9J  x  3^ 

Ornamented  with  Bell  Flowers  and  Serpents. 

198  Candlestick.  'H^Si 

Ornamented  with  Bell  Flowers,  Leaves 
and  Scarabei. . 

199  Candlestick,  Small,  with  Handle.  3f  x  4^ 

Ornamented  with  Ivy  Leaves. 


30        COLLECTION— CORCORAN  GALLERY. 

200  Perfume  Burner.  4  x  2  J 

Ornamented  with  chimeras.       « 

201  Paroquet  Seated  on  a  Tree.  7|  x  5 

202  Pheasant  walking,  Head  turned  to  Left. 

4fx8i 

203  Pheasant  walking,  Head  turned  to  Right. 

4fx8i 

204  Wolf  Caught  in  Trap.  4^  x  5 

205  Deer.     (Axis.)       Left  Foot  Raised.         6^x6 

206  Doe  Reclining.  3^  x  5^ 

(Dated  1840.) 

ao7  Fawn  Reclining.  if  x  4f 

(Dated  1840.) 

208  Rabbits.       Group.     (Two.)  2x3^ 

209  Turtle.  1^x4 

210  Crocodile.  iix7| 


BRONZES.  31 


COLLECTION— CYRUS  J.  LAWRENCE,  Esq. 

BRONZES. 

211  General  Bonaparte.     (1838.) 

212  Charles  VII.,  the  Victorious. 

Numbered  10.     (1839.) 


14 

X13 

"i 

X  10 

I4ixi4 

i3i^x 

I4i 

213  Gaston  de  Foix.     (1833.) 

213d!  Theseus  and  Centaur  Bienor. 
(1850.) 

214  Marble  Clock. 

Designed   by  Barye    as    Pedestal  for 
Theseus  and  Centaur. 

215  Arab  Horseman  Killing  a  Lion.  15  x  14 

216  Panther  Seizing  a  Stag.  15  x  22 

217  Stag  Holding  a  Wolf  by  the  Throat.  8x17 

218  Lion  and  Serpent  (No.  i).     (1832.)  10  x  12 

219  Lion  and  Serpent  (No.  3).     Sketch.  5|^X7 

220  Lion  Walking.     (1836.)  9x16 

221  Tiger  Walking.     (1836.)  8|-xi6^ 

222  Lion  Seated  (No.  i).     (1836.)  14x12 
> 


32       COLLECTION— CYR US  J.  LA  WRENCE. 


223  Lion  Seated  (No.  i).     (1836.)  14x12 

224  Bull  Dragged  to  Earth  by  a  Bear.  5i  x  ^  1 

(I839-) 

225  Wolf  Walking.  9X^5 

226  Horse,  Turkish  (No.  2).  11^  x  12 

227  Horse,  Half  Blood,  Head  Down.  7tX  ii^ 

228  Horse,  Half  Blood,  Head  Down.  7i  x  "i 

229  Tiger  Surprising  a  Deer.  6^x  lo 

230  Jaguar  Devouring  a  Crocodile.  3  x  93^ 

231  Panther  Surprising  a  Civet-Cat.  4x9 

232  Bull  on  the  Defensive.     (1841.)  7  x  ii|^ 

233  Bull  Rearing.     (1841.)  8^xn 

234  Family  of  Deer.      Group  of  four.  6J  x  10 

235  Stag,  Doe,  and  Fawn.  9x8^ 

236  Lioness  of  Senegal.  8x11^ 

237  Lioness  Standing.  7i  x  9 

238  Panther  of  Tunis.     (1840.)  3fx7^ 

Reduction. 


BRONZES.  33 

239  Panther  Holding  a  Deer.     (1S39.)  4x8^ 

240  Juno.  II 

241  Bear  on  Tree  Devouring  an  Owl.  7|-x  7 

242  Beagle,  Standing.  6  x  8|- 

243  Lion  Devouring  a  Doe.  5x11 

(Dated  1837.) 

244  Dromedary  of  Algiers.       Reduction.     5|^  x  6f 

245  Elephant  of  Asia.     (1833.) 

246  Jaguar  Standing  (No.  i). 

(Dated  1840.) 

247  African  Badger  Robbing  a  Nest. 

248  Pointer. 

249  Setter. 

250  Wolf  Caught  in  Trap. 

251  Cat  Sitting. 

252  Candelabras  (pair). 

Antique  Design,  with  Storks. 

253  Fire  Guard. 

Antique  Design,  with  two  Dogs  Seated. 
3 


5 

x8 

4|x 

7* 

4 

x6 

3i 

x6 

4ix 

5i 

4^ 

X5 

3ix 

3i 

28 

34       COLLECTION— CYRUS  J.  LAWRENCE. 

254  Crocodile.  i^xyj 

255  Rabbit,  Head  Raised,  Ears  Laid  Back,  if  x  2^ 

256  Rabbit,  Head  Down,  Ears  Laid  Back.  i|x2|^ 

257  Rabbit,  Head  Down,  Ears  Erect.  2  x  2^^ 

258  Turtle.       Reduction.  ^X2 

259  Stork  on  Turtle.  2jx  2 

260  Panther.       Bas-relief.  Z^Sh 

Dated  1831. 

261  Leopard.       Bas-relief.  S^Si 

Dated  1831. 

262  Genet  carrying  a  Bird.       Bas-relief.  3x5 

Bronze  frame.     Dated  1831. 

263  Virginia  Deer.       Without  antlers.  3 J  x  5  J 

Bas-reliefs.       Bronze  frame.     (1831.) 

264  Leopard.       Bas-relief.  3x5^ 

Bronze  frame.     (1831.) 

265  Panther.       Bas-relief.  3X5i 

Bronze  frame.     (1831.) 

266  Virginia  Deer.       With  antlers.  4  x  5 J 

Dated  1831.       Bas-relief. 


BRONZES.  35 

267  Pointer  and  Ducks.       Bas-relief.  4x6 

Galvano-plastic  process.     (1824-5.) 

268  Lion  Walking.       Bas-relief.       Modern.  8x16 

Sketch  for  the  Lion  of  the  Column  of  July. 

269  Lion  Seated.     Sketch.      Modern.  10  x  13 

The  above  two  numbers  were  never 
produced  by  Barye  in  bronze  ;  he 
left  at  his  death  a  model  in  plaster. 

270  Fawn,  scratching.       Modern.  2^  x  4| 

Never  produced  by  Barye  in  bronze  ; 
he  left  at  his  death  a  wax  model. 
See  No.  462. 

271  Eagle  on  Rock  with  Heron.  12x12^ 

Modem. 

272  Candlesticks  (pair).       Modem.  10 

Greek  designs,  with  Syracuse  medallions. 


36  COLLECTION— JAMES  F.  SUTTON. 

COLLECTION— JAMES  F.  SUTTON,  Esq. 

BRONZES. 

273  Roger  and  Angelica,  mounted  on  Hip- 

pogriff.  20x27 

(1846.) 

274  Candelabras  (pair),  9  lights,  Decor- 

ated with  6  figures,  mascarons  and 
chimeras.  37 

(1846.)  The  originals  of  the  above 
two  numbers  were  made  for  the 
Due  de  Montpensier. 

275  Tiger  Surprising  an  Antelope.  13^  x  24 

Model. 

276  Panther  Seizing  a  Stag.  15  x  20 

277  Deer  Attacked  by  two  Scotch  Hounds.  13^^  x  20 

(1833.) 

278  Theseus  and  Minotaur.       (1851.)  18x10 

279  Horse  Surprised  by  a  Lion.     (1834.)    15^x15 

280  Theseus  and  Centaur.       {1850.)         13^x14!^ 

281  Tartar  Warrior  Checking  his  Horse.   i3|^x  \2ik 

282  Two  Arabian  Horsemen 

Killing  a  Lion,  15  x  14 


BRONZES.         -  37 

283  General  Bonaparte.  17x17^ 

Model. 

284  Charles  VII.,  the  Victorious.    (1839.)  1 1^x10 

285  Lion  Seated  (No.  I ).       (1836,)  14^x12 

286  Lion  Seated  (No.  3).  7x6 

287  Lion  and  Serpent   (No.  i).     (1832.)  10x12 

288  Lion  and  Serpent   (No.  2).  6fx8 

289  Lion  and  Serpent  (No.  3).       Sketch.  5j  x  7 

290  Lion  Walking.       (1836.)  9x16 

291  Tiger  Walking.       (1836.)  a|^xi6J 

292  Ocelot  Carrying  a  Heron.  6}x  11^ 

293  Elephant  Crushing  a  Tiger.     (1837.)  8^x12 

294  Lioness  Standing.  7  J  x  9 

295  Bull  on  the  Defensive,     (1841.)  7  x  iij 

296  Bull  Rearing.     (1841.)  8|xii 

297  Horse  (Turkish),  Right  Foot  Raised.  11^x12 

(No.  2.) 

298  Horse  (Turkish),   Left  Foot  Raised.  7^x7^^ 

(No.  3.) 


38  COLLECTION— JAMES  F.  SUTTON. 

299  Horse,  Half  Blood,  Head  Lowered.         4|  x  7 

Reduction. 


300  Dromedary,  Egyptian,  Harnessed. 

10x9^ 

301  Dromedary,  Algerian. 

7^X9 

302  Dromedary,  Algerian.       Reduction, 

5ix6| 

303  Greyhound  and  Hare.       Model. 

8x13 

304  Beagle,  Standing. 

6^  X  12 

305  Spaniel  and  Duck. 

5^x8 

306  Spaniel  and  Rabbit. 

5x81 

307  Spaniel. 

3^x6 

308  Two  Young  Bears  Playing.     (1833.) 

8^x6 

309  Stag  Rolling  a  Stone. 

5^X9 

310  Hawk  Killing  a  Heron. 

11x9^ 

311  Pheasant,  Right  Foot  Raised. 

5x8^ 

Numbered  5. 

312  Panther  of  Tunis.      (1840.) 

3fx7i 

Reductioa. 

313  African  Badger  Robbing  Nest.  4x6 

314  Minerva.  12 


BRONZES,  39 

315  Juno.  12 

316  Elephant  of  Cochin  China.  6  x  10 

3 1 7  Stork  on  Turtle.  2f  x  2 

318  Stork  and  Serpent.  5  x  2J 

319  Doe  and  Fawn  Reclining.  2|x4| 

320  Kevel.  4X3f 

321  Gazelle  of  Ethiopia.  3^X3^ 

322  Rabbit,  Head  Up,  Ears  Laid  Back.  1^x2^ 

323  Genet  Carrying  a  Bird.      Dated  1831.      3x5 

Bronze  Frame.     Bas-relief. 

324  Virginia  Deer,  Without  Antlers.  i\  x  5| 

Dated  1831.     Bronze  Frame.     Bas-relief. 


40  COLLECTION— SAMUEL  P.  A  VER  Y. 


COLLECTION— SAMUEL   P.  AVERY,  Esq. 
BRONZES. 

325  Theseus  and  Centaur.      Modern.       29^^x25!^ 

With  mahogany  pedestal. 

326  Charles  VII.  the  Victorious.     (1839.)    11 J  x  10 

With  clock  pedestal,  arabesque  design. 

327  Lion  Walking.     (1836.)  9  x  16 

328  Tiger  Walking.     (1836.)  8^xi6| 

329  Elephant,  with  Indian   Mounted,      (1837.) 

Crushing  Tiger.  11x12 

Model. 

330  Boar  Wounded.       Model.     (1839.)  6x8 

331  Eagle  on  Rock,  Wings  Extended.         10  x  12^ 

332  Horse  (Turkish),  Right  Foot  Raised.    1 1|^  x  12 

(No.  2.) 

333  Beagle  Standing.  6^x12 

334  Lion  and  Serpent.     Sketch  (No.  3.)         Six  7 

335  Lion  Seated  (No.  i).     (1836.)  14X  12 


BRONZES.  41 


336  Jaguar  Devouring  an  Agouti.    (1848.)  2^x8^ 

Sketch    for    the  Jaguar   Devouring   a 
Hare.     [No.  7  of  this  catalogue.] 

337  Spaniel.  3^x6 

338  Deer  of  Java.    '  5^x7 

339  Pheasant,  Left  Foot  Forward.  4f  x  8 

340  Horse,  Half  Blood,  Head  Lowered.  4|  x  7^ 

Reduction. 

341  Horse,  Half  Blood,  Head  Erect.  5x7 

Reduction. 

342  Candelabra,  antique,  3  Lights.  30 

With  Chains  and  Stork. 

343  Bear  in  Trough.     Modern.     (1834.)  4^x5 

344  Fawn  Lying  Down.       Numbered  8.  i|  x  4J 

345  Cat  Sitting.  4J  x  3 J 

346  Stork  on  Turtle.  2|  x  2 

347  Lion  of  the  Column  of  July.  io|^x  2 if 

Bas-relief.    (1840.) 

348  Leopard.       Bas-relief.       Dated  183 1.  3x5^ 

349  Panther.      Bas-relief.       Dated  1831.  3x5^ 


42         COLLECTION— SAMUEL  P.  AVERY. 

350  Genet  Carrying  a  Bird.      Dated  183 1.  3  x  5i 

351  Virginia  Deer,  with  Antlers.  4X5^ 

Dated  1831.     Bas-relief. 

352  Pointer  and  Ducks.     Dated  183 1.  4x6 

Bas-relief. 

353  Eagle  and  Serpent.       Bas-relief.  4x6 

354  Eagle  and  Chamois.       Bas-relief.  4f  x  7 J 


BRONZES.  43 


COLLECTION —  R.   AUSTIN    ROBERTSON, 
Esq. 

BRONZES. 

355  General  Bonaparte,  17x17^ 

356  Lion  and  Serpent  (No.  i).     (1832.)       10x12 


357  Horse  Attacked  by  a  Tiger. 

9i  X  14^ 

Unique. 

358  Lion  Devouring  a  Boar. 

7^X11 

359  Horse,  Turkish  (No.  2). 

ii|-x  12 

Left  Foot  Raised.       Model. 

360  Greyhound  and  Hare. 

8x13 

361  Bear  on  Tree  Devouring  an  Owl. 

7^x6^ 

Model. 

362  Hawk  Killing  a  Heron. 

11X9J 

363  Beagle,  Standing.       Model. 

6x12 

364  African  Badger  Robbing  a  Nest. 

4x6 

Model. 
365  Elephant  of  Asia.     (1833.)  Six 8 


44     COLLECTION— R.  AUSTIN  ROBERTSON. 


366  Pointer  and  Setter  with  Pheasants.  4f  x  10 

367  Horse,  Half  Blood,  Head  Lowered.  4^x7^ 

Reduction. 

368  Horse,  Half  Blood,  Head  Erect.  5x7 

Reduction. 

369  Deer  in  Repose,  Standing.  9  x  8|- 

370  Doe  Lying  Down.     Dated  1840.  ifx4| 

371  Deer  Wounded.  a\^2>\ 

372  Kevel.  4X3f 

373  Gazelle  of  Ethiopia.  Z\  x  z\ 

374  Antelope.  3x3^ 

375  Ram,  Ewe,  and  Kid.       Group.  2^  x  4|- 

376  Camel  of  Persia.  A\  x  4J 

377  Stork  on  Turtle.  2|x2 


BRONZES.  45 


COLLECTION— THEODORE  K.  GIBBS,  Esq. 
BRONZES. 

378  Elk  Surprised  by  a  Lynx.       (1834.)  8^xii|- 

379  Jaguar  Sleeping.  3^  x  9 

380  Tiger  Walking.       New  Model.  9^  x  16 

381  Juno.  12 

382  Horse  (Turkish).     (No.  3.)  7J  x  7^ 

Left  Foot  Raised. 

383  Deer  in  Repose,  Standing.  9x8 

384  Deer  of  Java.  Si  x  7 

385  Fawn  Lying  Down.       (1840.)  if  x  4f 

386  Horse,  Half  Blood,  Head  Lowered.  4J  x  7^ 

Reduction. 

387  Horse,  Half  Blood,  Head  Erect.  5x7 

Reduction. 

388  Dromedary  of  Algiers.       Reduction.  5i  x  7 

389  Lion  and  Serpent  (No.  3).     Sketch.  5x7 

390  Panther  of  India,  ih'>^^ 

391  Pointer.  3x6 


46 


OTHER  CONTRIBUTORS. 


OTHER  CONTRIBUTORS. 


BRONZES. 

392  Theseus  and  Centaur.       (1850.) 

Loaned  by  the  Metropolitan  Museum 
of  Art.  Acquired  soon  after  it  was 
first  exhibited  by  Barye  by  Mr.  Boer 
of  the  Hague,  in  whose  possession 
it  remained  until  1883,  when  it  was 
pui  chased  by  Samuel  P.  Avery, 
Esq.,  and  by  him  presented  to  the 
Museum. 

393  Arab  Horseman  Killing  a  Lion. 

Loaned  by  Robert  Hoe,  Esq. 

394  Lion  Walking.     (1836.) 

Loaned  by  Robert  Hoe,  Esq. 

395  Tiger  Walking.       (1836.) 

Loaned  by  Robert  Hoe,  Esq. 


50x41 


396  Juno. 

Loaned  by  Robert  Hoe,  Esq. 

397  Minerva. 

Loaned  by  Robert  Hoe,  Esq. 

398  Paroquet  Seated  on  Tree. 

Loaned  by  Robert  Hoe,  Esq. 


15x14 
9  X  16 
8^xi6i 
12 


7|X5 


BRONZES.  47 

399  Greyhound  and  Hare,  8x13 

Loaned  by  James  Irving  Raymond,  Esq. 

400  Ape  Riding  a  Gnu.     (1842.)  9  x  10 

Loaned  by  Richard  M.  Hoe,  Esq. 

401  Lioness  of  Senegal.  8  x  ii^ 

Loaned  by  Richard  M.  Hoe,  Esq. 

402  Lioness  of  Algiers.  8x11^ 

Loaned  by  Richard  M.  Hoe,  Esq. 

403  Horse,  Half  Blood,  Head  Lowered.      7^  x  1 1 J 

Loaned  by  Richard  M.  Hoe,  Esq. 

404  Family  of  Deer.       Group  of  Four.        6^  x  10 

Loaned  by  Richard  M.  Hoe,  Esq. 

405  Deer  Walking.  8x8 

Loaned  by  Richard  M.  Hoe,  Esq. 

406  Jaguar  Devouring  a  Hare.     Modern.    17^x38 

Loaned  by  Charles  A.  Dana,  Esq. 

407  Lion  Seated.     (1836.)  14x12 

Loaned  by  W.  M.  Laffan,  Esq. 

408  Tiger  Walking.     (1836.)  8J-xi6^ 

Loaned  by  W.  M.  Laffan,  Esq. 


48  OTHER  CONTRIBUTORS. 

409  Theseus  and  Centaur.     (1850.)  i3|-xi4|- 

Loaned  by  James  S.  Inglis,  Esq. 

410  Young  Man  Mastering  his  Horse.  8x9 

(Sketch.) 

Loaned  by  James  S.  Inglis,  Esq. 

411  Horse,  Arabian.  10 J  x  10^ 

Loaned  by  James  S.  Inglis,  Esq. 

412  Candelabras  (pair),  10  Lights.  25 

Greek  Design. 

Loaned  by  James  S.  Inglis,  Esq. 

413  Candlesticks  ^pair).  X2\ 

Ornamented  with  Leaves  and  Flowers. 
Loaned  by  James  S.  Inglis,  Esq. 

414  Leopard.  3^5^ 

Bronze  Frame.     Dated  1831.     Bas-relief. 
Loaned  by  James  S.  Inglis,  Esq. 

415  Panther.  3X5^ 

Bronze  Frame.     Dated  1831.     Bas-relief. 
Loaned  by  James  S.  Inglis,  Esq. 

416  Horse,  Half  Blood,  Head  Lowered.         8  x  10 

Loaned  by  James  S.  Inglis,  Esq. 


BRONZES.  49 


417  Theseus  and  Minotaur.     (1848.)  18x10 

Loaned  by  Richard  M.  Hunt,  Esq. 

418  Bull  Rearing,  Attacked  by  a  Tiger.         9x11 

(1837) 

Loaned  by  Richard  M.  Hunt,  Esq. 

419  Eagle,  Wings  Extended,  Beak  Closed,     ii  x  13 

Loaned  by  Richard  M.  Hunt,  Esq. 

420  Rabbit,  Head  Down,  Ears  Raised.  1^  x  2^ 

Loaned  by  Richard  M.  Hunt,  Esq. 

421  Panther  Seizing  a  Stag.  15x22 

Loaned  by  Richard  M.  Hunt,  Esq. 

422  Elephant  of  Africa.  5  x  7i- 

Loaned  by  Richard  M.  Hunt,  Esq. 

423  Elephant  Walking.       Unique.  9^  x  16 

Loaned  by  Thomas  B.  Clarke,  Esq. 

424  Lion  Walking.     (1836,)  9x16 

Loaned  by  J.  W.  Ellsworth,  Esq. 

425  Tiger  Walking.     (1836.)  8^x16^ 

Loaned  by  J.  W.  Ellsworth,  Esq. 

426  Two  Arab  Horsemen  Killing  a  Lion.   i4tJ-  x  15 

Loaned  by  Albert  Spencer,  Esq. 

4 


so  OTHER   CONTRIBUTORS. 


427  Lion  Walking.     (1836.) 

9X  16 

Loaned  by  Albert  Spencer,  Esq. 

428  Tiger  Walking.     (1836.) 

8|:Xi6i 

Loaned  by  Albert  Spencer,  Esq. 

429  LiOn  and  Serpent  (No.  2.) 

6|x8 

Loaned  by  Albert  Spencer,  Esq. 

430  Huntsman,  Costume  Louis  XV. 

7|x7 

Loaned  by  Albert  Spencer,  Esq. 

431  Deer  Listening.     (1838.) 

7ix6| 

Loaned  by  Albert  Spencer,  Esq. 

432  Deer  with  Foot  Raised. 

7ix6| 

Loaned  by  Albert  Spencer,  Esq. 

433  Panther  of  Tunis.       (1840.) 

5X7i 

Reduction. 

Loaned  by  Albert  Spencer,  Esq. 

434  Panther  of  India.       Reduction. 

3ix8 

Loaned  by  Albert  Spencer,  Esq. 

435  Panther.     Bas-relief. 

3X5i 

Bronze  frame.     (Dated  1831.) 
Loaned  by  Albert  Spencer,  Esq. 

436  Leopard.     Bas-relief.  3  x  5  J 

Bronze  frame.     (Dated  1831.) 
Loaned  by  Albert  Spencer,  Esq. 


BRONZES.  51 

437  Lion  and  Serpent  (No.  3).       Sketch.         5x7 

Loaned  by  Edward  Gleason,  Esq. 

438  Lion  Walking.     (1836.)  •         10x16 

Loaned  by  Charles  Parsons,  Esq. 

439  Horse,  Half  Blood,  Head  Erect.  5^^  x  6J 

Reduction. 

Loaned  by  Henry  Sampson,  Esq. 

440  Pointer.  3  j  x  6 

Loaned  by  Henry  Sampson,  Esq. 

441  Bull  Rearing.  8^x11 

Loaned  by  Mrs.  Bellina  Froehlich. 

442  Dromedary  of  Algiers.       Reduction.     5|  x  6| 

Loaned  by  Mrs.  Bellina  Froehlich. 

443  Panther  of  Tunis.     (1840.)  5^x10^ 

Loaned  by  Theodore  Roosevelt,  Esq. 

444  Elephant  of  Asia.     (1833.)  5x8 

Loaned  by  Theodore  Roosevelt,  Esq. 

445  Tiger  Devouring  a  Gazelle.     Modern.    5^x12 

Loaned  by  Theodore  Roosevelt,  Esq. 

446  Two  Arab  Horsemen  Killing  a  Lion.   14^  x  15 

Loaned  by  John  Taylor  Johnston,  Esq. 


52  OTHER   CONTRIBUTORS. 

447  Bronze  Vases  (pair).  17^ 

Marble  Stand,  ornamented  with  Panther 
and  Leopard.     Bas-reliefs. 

Loaned  by  Samuel  J.  Harriot,  Esq. 

448  Tiger  Walking.  8^  x  16^ 

Loaned  by  Dr.  J.  West  Roosevelt. 

449  Cat  Sitting.  3^  x  3^ 

Loaned  by  Mrs.  R.  W.  Gilder. 

450  Panther  Seizing  a  Stag.  15  x  20 

Loaned  by  Brayton  Ives,  Esq. 

PLASTER   CAST    AND   WAX    MODELS. 

451  Lion  and  Serpent.     Plaster  Cast.  50X  70 

I^oaned  by  the  Metropolitan  Museum  of 
Art.  A  gift  from  the  French  Gov- 
ernment, now  exhibited  for  the  first 
time  in  this  country. 

452  Fawn  Scratching.    Wax  Model.  6^x9 

Loaned  by  James  S.  Inglis,  Esq. 

453  Young  Man  Mastering  a  Horse.  8x9 

Wax  Model. 

Loaned  by  James  S.  Inglis.  Esq, 


PAINTINGS,  DRAWINGS,  ETC.  53 


COLLECTION— W.  T.  WALTERS,  Esq. 
WATER  COLORS  BY  A.  L.  BARYE. 

454  Deer  and  Doe.  (i\y.\o\ 

455  Large  Tiger  Lying  Down.  15  x  21^ 

456  Lion  Lying  Down.  lox  i2| 

457  Bear  Walking.  10x13 

458  Leopard  Eating.  io|^xi3 

459  Large  Lion.  13  x  20 

460  Tiger  Rolling.  10  x  13 

461  Tiger  Watching  an  Elephant.  12  x  16 

462  Lion  and  Serpent.  ii^x  15^ 

463  Tiger  Walking.  14x15^ 

464  Tiger  Walking.  11^x16 

465  Elephants.  io|-  x  13^ 

466  Serpent  Crushing  an  Antelope.  9^x  13^ 

467  Two  Lion  Cubs.  11  x  15^ 


54              COLLECTION— W.    T.  WALTERS. 

468  Elephant  Asleep.  ii|^xi6 

469  Tiger  Asleep.  13^x17 

470  Lion  Standing.  u  x  15 

471  Moose  and  Doe.  lojx  i4 

472  Elephants  in  the  Water.  8^x  12^ 

473  Lion  and  Serpent.  10^  x  14 

474  Serpent  on  Limb  of  Tree.  ii|x  15 

475  Serpent  Crushing  a  Gnu.  14  x  21 

476  Portrait  of  Barye,  by  Camino.  15^  x  12 

477  Deer  Walking.  4^x5^ 

478  Tiger.     (Oil.)  2o^x45i 


PAINTINGS,  DRAWINGS,  ETC.  55 

COLLECTION— SAMUEL  P.  AVERY,  Esq. 
WATER  COLORS,  ETCHINGS,  Etc. 

479  Tiger  in  Repose.  13  x  20^ 

Water  color. 

480  Lion  on  the  Alert.  6^  x  10 

Water  color. 

481  Lioness  with  Cubs.  5ix9 

Water  color. 

482  Stag  Fighting  a  Cougar, 

Original  etching  by  A.  L.  Barye.  (1871.)  Rare. 

483  Stag  Attacked  by  a  Wolf. 

Etching  by  Chas.  Jacque.     (1846.) 
After  water  color  by  A.  L.  Barye. 

484  Doe  Reposing. 

Etching  by  Chas.  Jacque.     (1846.) 
After  a  bronze  by  A.  L.  Barye. 

485  Two  Fawns  Reposing. 

Etching  by  Chas.  Jacque.     (1846.) 
After  bronzes  by  A.  L.  Barye. 

486  Lion  and  Serpent. 

Etching  by  Henry  Lefort.  After  A.  L.  Barye. 


56  COLLECTION— SAMUEL  P.  A  VER  Y. 

487  Tiger  Devouring  a  Crocodile. 

Wood-cut  by  A.  L.  Barye.      (1871.) 

488  Lion  of  Persia. 

* 
Lithograph  by  A.  L.  Barye. 

489  Two  Cats  Sleeping. 

Lithograph  by  A.  L.  Barye. 

490  Lion  and  Serpent. 

Lithograph  by  Vernier. 

491  Charles  VI.  on  Horseback. 

Lithograph  by  Gigoux. 

491^  Elephant  Walking. 

Lithograph  by  Gigoux. 

492  Autograph  Letter   and    Photograph  of  A.  L. 

Barye. 


WATER   COLORS.  57 

OTHER   CONTRIBUTORS. 
WATER  COLORS  BY  A.  L.  BARYE. 

493  Walking  Lion,  6|^  x  lo 

Loaned  by  Quincy  Shaw,  Esq. 

494  Sleeping  Lion.  7  x  lo 

Loaned  by  Quincy  Shaw,  Esq. 

495  Walking  Tiger.  11x15 

Loaned  by  Quincy  Shaw,  Esq. 

496  Lioness  Standing.  12x14 

Loaned  by  James  F.  Sutton,  5sq. 

497  Tiger  Crouching.  1 1  x  14 

Loaned  by  James  F.  Sutton,  Esq. 

498  Deer  Running.  9^^x12 

Loaned  by  James  F.  Sutton,  Esq. 


$8  OTHER   CONTRIBUTORS. 

499  Stag  Listening.  6|  x  8 

Loaned  by  James  F.  Sutton,  Esq. 

500  Leopard  Walking.  8x12 

Loaned  by  James  F.  Sutton,  Esq. 

501  Lion  Listening.  6  x  10 

Loaned  by  James  F.  Sutton,  Esq. 

502  Tiger  Rolling.  10^  x  12^ 

Loaned  by  James  S.  Inglis,  Esq. 

503  Lion  Eating.  7^  x  io| 

Loaned  by  Albert  Spencer,  Esq. 
* 

504  Tiger  Playing.  9  x  i2| 

Loaned  by  Cyrus  J.  Lawrence,  Esq. 

505  Stag  Standing.  •  6^  x  10 

Loaned  by  Cyrus  J.  Lawrence,  Esq. 


PAINTINGS,  DRAWINGS,  ETC.  59 

506  Tiger  Hunt.  20  x  27^ 

Loaned  by  The  Corcoran  Gallery  of  Art. 

507  Lions  Sleeping.  12  x  19 

Loaned  by  The  Corcoran  Gallery  of  Art 

508  Tiger  in  the  Desert.  8|  x  18^ 

Loaned  by  Clarence  King,  Esq. 

509  Lion  Listening.  10  x  13 

Loaned  by  Clarence  King,  Esq. 

510  Panther  Crouching.  7^xio 

Loaned  by  Geo.  I.  Seney,  Esq. 

OIL   PAINTINGS. 

511  Landscape,  Sketch  at  Fontainebleau.      12  x  7^ 

Loaned  by  T,  K.  Gibbs,  Esq. 

512  Lion  Killing  a  Boar.     Sketch.  7^X9^^ 

Loaned  by  James  F.  Sutton,  Esq. 


6o  OTHER   CONTRIBUTORS. 

513  Landscape,  Study  of  Rocks, 

Fontainebleau.  5|^  x  1 2| 

Loaned  by  Cyrus  J.  Lawrence,  Esq. 

514  Landscape,  Study  of  Trees, 

Fontainebleau.  7|  x  i5i- 

Loaned  by  Cyrus  J.  Lawrence,  Esq. 

515  Lynx  Hunting  the  Stork.  5  x  10^ 

Loaned  by  Cyrus  J.  Lawrence,  Esq. 


ETCHINGS,     DRAWINGS,     LITHOGRAPHS,     ETC., 
BY  AND  AFTER  A.  L.  BARYE. 

516  Elephant   Hunt.  18x22 

Crayon  Sketch  by  A.  L.  Barye. 
Loaned  by  James  F,  Sutton,  Esq. 

517  Lion  in  Repose.       Lithograph. 

Loaned  by  James  F.  Sutton,  Esq. 

518  Tiger  in  Repose.       Lithograph. 

Loaned  by  James  F.  Sutton,  Esq. 


PAINTINGS,  DRAWINGS,  ETC.  6i 

519  Ocelot  Carrying  a  Heron.      Lithograph. 

Loaned  by  James  F.  Sutton,  Esq. 

520  Portrait  of   Barye.      Lithograph   after 

Gigoux. 

Loaned  by  James  F.  Sutton,  Esq. 

521  Lion  Walking.      Etching  by  Courtry, 

After  Water  Color  by  A.  L.  Barye. 

Loaned  by  Cyrus  J.  Lawrence,  Esq. 

522  Crayon  Studies  (8).       By  A.  L.  Barye. 

Loaned  by  Cyrus  J.  Lawrence,  Esq. 

523  Portrait.      Photograph  of  A,  L.  Barye. 

Loaned  by  Cyrus  J.  Lawrence,  Esq. 

524  Chateaux  d'Eau  at  Marseilles.       Pho- 

tograph,  showing  four  groups  exe-' 
cuted  in  stone  by  A.  L.  Barye. 

Loaned  by  Cyrus  J.  Lawrence,  Esq. 

525  Autograph  Letter  of  Barye.  With  Portrait. 

Loaned  by  Cyrus  J.  Lawrence,  Esq. 

526  Autograph  Letter  of  Barye. 

Loaned  by  Cyrus  J.  Lawrence,  Esq. 


CATALOGUE  OF  PAINTINGS 


BY 


J.  F.  MILLET, 
TH.  ROUSSEAU, 
C.  TROYON, 
C.  F.  DAUBIGNY, 
A.  G.  DECAMPS, 


J.  B.  C.  COROT, 

JULES  DUPR6, 

N.  DIAZ, 

E.  DELACROIX, 

J.  L.  A.  T.  G^RICAULT, 


CONTEMPORARIES  AND  FRIENDS  OF 

ANTOINE-LOUIS  BARYE. 


NOTE. 

The  great  names  in  the  art  of  the  XlXth  century 
in  France  are  those  of  the  men  who  were  the  con- 
temporaries and  friends  of  Barye.  They  are  de- 
scribed as  the  phalanx  of  1830,  a  period  of  revolu- 
tion in  which  they  wrought  unconsciously,  but  with 
infinite  power.  They  were  Corot,  Daubigny, 
Diaz,  D]£camps,  Dupr^,  Delacroix,  Millet, 
Rousseau,  Troyon,  and  G]£ricault.  When  it 
was  decided  to  hold  an  exhibition  of  Barye's  works 
in  New  York,  in  aid  of  the  project  to  erect  a  monu- 
ment to  his  memory  in  Paris,  it  was  thought  not 
inappropriate  that  it  should  be  made  to  include  a 
selection  of  the  works  of  the  men  who  were  his 
contemporaries,  his  fellow-students,  his  friends,  his 
pupils,  his  teachers.  These  great  men  all  learned 
each  of  the  other  something,  and  they  were  the 
earliest  to  discern  the  genius  of  Barye.  They  un- 
derstood and  revered  his  art,  and  in  his  turn  Barye 
understood  them,  toiled  with  them,  suffered  with 
them,  and  lived  to  exult  in  all  their  triumphs.  He, 
later  than  any  other,  achieved  the  worldly  measure 
of  success,  and  if  he  lingered  unrewarded  until 
nearly  all  his  colleagues  had  passed  away,  it  seems, 
perhaps,  fitting  that  they  should  now  appear  to  do 
him  honor  and  to  contribute  to  his  fame.  They  are 
5 


66  NO  TE. 

well  represented.  Nowhere  else  in  the  world  could 
such  a  collection  be  made  as  that  which  now  sup- 
plements the  exhibition  of  the  works  of  Barye. 
No  like  opportunity  to  assemble  them  was  ever 
presented,  and  it  is  not  probable  that  such  another 
will  again  occur.  In  the  gravitation  to  America  of 
great  works  of  art  a  majority  of  the  treasures  of 
the  great  French  school  have  been  acquired.  The 
choicest  of  them  are  among  the  hundred  pictures 
now  displayed,  and  the  occasion  for  the  study  of 
the  works  of  these  great  artists  is  one  of  which  the 
like  never  before  was  known.  The  liberal  spirit 
and  the  unhesitating  generosity  of  the  American 
collectors  of  pictures  are  beyond  ordinary  compre- 
hension, and  have  made  this  exhibition  possible. 


PAINTINGS.  67 


COLLECTION— W.  T.  WALTERS,  Esq. 

.  PAINTINGS. 

527 
'*  MILLET  (J.  F.). 

1815-1S75. 

"  Breaking  Flax. " 
15  X  18 

528 

COROT  J.  B.  C). 

1796-1875. 

"  The  Martyrdom  of  St.  Sebastian." 

48  X  96 

529 
COROT  (J.  B.  C). 

1796-1875. 
"  The  Evening  Star." 

35  X  28 


68  COLLECTION— W.    T.    WALTERS. 


TROYON   (C). 
1813-1865. 

"  Repose." 
34  X  22 

DAUBIGNY  (C.  F.), 

1817-1873. 

"  Twilight." 

32  X  18 

532 

COROT  (J.  B.  C). 

1796-1875. 

*  Very  Early  Spring 
15  X  21 

533 

TROYON  (C). 

1813-1S65. 

"Cattle  Drinking." 

21  X  31 


PAINTINGS.  69 


534 

MILLET  (J.  F.). 

1815-1875. 

"  The  Potato  Harvest." 


535 
DELACROIX  (E.). 

I 799-1 863. 

"  Christ  on  the  Cross." 
26  X  33 

536 

ROUSSEAU  (Th.). 

18 1 2-1 867. 

"  Early  Summer  Afternoon." 
29  X  21 

537 
DIAZ   (N.). 
1808-1877. 

"  The  Storm." 
34x23 


7°  COLLECTION— W.    T.    WALTERS. 

DUPRE  (Jules). 
1812-1889. 

"  The  Old  Oak." 

24  X  28 

539 

ROUSSEAU  (Th.). 

1812-1867. 

"  Le  Givre — Winter  Solitude." 

38  X  25 

540 

DIAZ  (N.). 
1808-1S77. 

"  Forest  of  Fontainebleau — Autumn. 

25  X  30 

541 

DECAMPS  (A.  G.). 
1803-1860. 

"  The  Suicide." 

22  X  15 


PAINTINGS.  7 1 


542 
DIAZ  (N.). 
1808-1877. 

"  Effect  of  Autumn." 

16  X  12 

543 
DIAZ  (N.). 
I 808-1877. 

"  The  Assumption." 
loi  X  I5i 

544 
DAUBIGNY   (C.  F.). 

1817-1878. 

"  Sunset  on  the  Coast  of  France." 

59  X  30 

545 
MILLET   (J.   F.). 

1815-1875. 
"The  Sheepfold  (Moonlight)." 

24  X  18 


72  COLLECTION— W.    T.    WALTERS. 

DELACROIX  (E.). 

1799-1863. 

"Jesus  on  the  Sea  of  Galilee." 
29  X  24 

547 

DUPRE   (Jules). 

1812-1889. 

"  At  Sea." 

29  X  24 

548 

DAUBIGNY  (C.  F.). 

1817-1878. 

"The  Coming  Storm- 
Early  Spring." 

27  X  17 

549 

DUPR6  (Jules). 

1812-1889. 

"Sunset." 
29^  X  24 


PAINTINGS.  73 


549^ 
DIAZ  (N.). 
1808-1877. 

"Cupid  Disarmed." 

27xi5i 

BONNAT  (Leon). 

"Portrait  of  A.  L.  Barj-e." 
36  X  51 


74  OTHER    CONTRIBUTORS. 

OTHER   CONTRIBUTORS. 
PAINTINGS. 

551 
MILLET  (J.  F.). 

1S15-1875. 

"Sheep  Shearing." 

\t\  X  10 
Loaned  by  Quincy  Shaw,  Esq. 

MILLET  (J.  F.). 

1815-1875. 

"Sea  View  off  Cherbourg." 

10  X  13 
Loaned  by  Quincy  Shaw,  Esq. 

553 

MILLET  (J.  F.). 

1815-1875. 

"Le  Bout  du  Village  de  Gr^ville." 

33x40 

Loaned  by  Quincy  Shaw,  Esq. 


PAINTINGS.  75 


554 
MILLET  (J.  F.). 

1815-1875. 

"The  Planters." 

33  X40 

Loaned  by  Quincy  Shaw,  Esq. 


555 

MILLET  (J.  F.). 

1815-1875. 

"  Buckwheat  Threshers." 

35  x44i 
Loaned  by  Quincy  Shaw,  Esq. 


556 

DUPRE  (Jules). 

i8i2-i88g. 

"The  Great  Oak." 

68  X  57 
Loaned  by  John  G.  Johnson,  Esq. 


7^  OTHER   CONTRIBUTORS. 

557 

DECAMPS  (A.  J.). 
I 803-1 860. 

"  Bivouac  at  Waterloo." 

13  X  18 
Loaned  by  John  G.  Johnson,  Esq. 


558 

DECAMPS  (A.  J.). 

I 803-1 860. 

'*  Syrian  View." 

19  X  24i 
Loaned  by  John  G.  Johnson,  Esq. 


559 

TROYON  (C). 

1813-1865. 

"Forest  Clearing." 

25  X  21 

Loaned  by  John  G.  Johnson,  Esq. 


PAINTINGS.  77 


560 

TROYON  (C). 
1813-1865. 

"Ooing  to  the  Fair." 

24  X  35i 

Loaned  by  John  G.  Johnson,  Esq. 


561 

DAUBIGNY  (C.  F.). 

1817-1878. 

"  Landscape." 

iS  X  31 

Loaned  by  John  G.  Johnson,  Esq. 


562 

ROUSSEAU  (Th.). 
1812-1S67. 

"  October." 

i5i  X  i8i 

Loaned  by  John  G.  Johnson,  Esq. 


78  OTHER    CONTRIBUTORS. 

MILLET  (J.  F.). 

1815-1875. 

"  Sheep  Shearing." 

24  X  30 

Loaned  by  Henry  Graves,  Esq. 


MILLET  (J.  F.). 
1815-1875. 

"  Woman  Making  Lye." 

16  X  II 

Loaned  by  Henry  Graves,  Esq. 


DELACROIX  (E.). 
1 799-1 863. 

"  Wounded  Tiger." 

13^  X  21 

Loaned  by  Henry  Graves,  Esq. 


PAINTINGS.  79 


566 

DECAMPS   (A.  J.) 
1 803- 1 860. 

Turkish  Butcher's  Shop." 
24  X  20 
Loaned  by  Henry  Graves,  Esq. 


567 

ROUSSEAU  (Th.). 

1812-1867. 

"  Morning  on  the  Oise." 

16  X  25 
Loaned  by  Henry  Graves,  Esq. 


568 

ROUSSEAU  (Th.). 
1812-1867. 

"  Forest  of  Fontainebleau." 

25i  X  29i 

Loaned  by  Henry  Graves,  Esq. 


8o  OTHER   CONTRIBUTORS. 

569 
ROUSSEAU  (Th.). 

1812-1867. 

"Dogs  and  Hare." 

11^  X  19 
Loaned  by  Henry  Graves,  Esq. 


DAUBIGNY  (C.  F.). 

1817--1878. 

"  On  the  River  Oise.". 

12  X  24 

Loaned  by  Henry  Graves,  Esq. 


DAUBIGNY  (C.  F,). 

1817-1878. 

"  Landscape." 

12  X  20 

Loaned  by  Henry  Graves,  Esq. 


PAINTINGS.  8l 


572 

DAUBIGNY  (C.  F.). 

1817-1878. 

"  Landscape  After  Rain." 

9x15 
Loaned  by  Henry  Graves,  Esq. 


573 

MILLET  (J.  F.). 

1815-1875. 

*'  Waiting." 

33i  X  48 

Loaned  by  George  I.  Seney,  Esq. 


574 
DIAZ  (N.). 
1808-1877. 

«  The  Temple  of  Love." 

28  X  16 
Loaned  by  George  I.  Seney,  Esq. 


82  OTHER    CONTRIBUTORS. 

575 
DIAZ  (N.). 
1808-1877. 

"  The  Flight  of  Cupid." 

40^  X  30^ 
Loaned  by  George  I.  Seney,  Esq. 


576 

DECAMPS  (A.  J.). 

1803-1860. 

"  Cat,  Rabbit,  and  Weasel." 

10  X  14 
Loaned  by  George  I.  Seney,  Esq. 


577 

TROYON  (C). 

1813-1865. 

**  Return  From  the  Pastures.' 

15  X  22 

Loaned  by  George  I.  Seney,  Esq. 


PAINTINGS,  83 


578 

COROT  (J.  B.  C). 

1796-1875. 

"  Souvenir  of  Normandy." 

Loaned  by  George  I.  Seney,  Esq. 


579 

DAUBIGNY  (C.  F.). 

1817-1878. 

"  On  the  River  Oise." 

Loaned  by  George  I.  Seney,  Esq. 


580 

DELACROIX  (E.). 
1799-1863. 

"  Lion  in  the  Mountains." 

II  X  I4i 
Loaned  by  George  I.  Seney,  Esq. 


84  OTHER   CONTRIBUTORS. 

DELACROIX  (E.). 
I 799-1 863. 

"  Les  Convulsionnaires." 

24  X  40 

Loaned  by  George  L  Seney,  Esq. 


DELACROIX  (E.). 
1799-1863. 

"  Tiger  and  Serpent." 

13  X  16 
Loaned  by  Henry  M.  Johnston,  Esq. 


DUPRE  (Jules). 
1812-1889. 

"Oakby  the  River." 

30  X  24 

Loaned  by  Henry  M.  Johnston,  Esq. 


PAINTINGS.  85 


584 
COROT  (J.  B.  C). 

1796-1875. 

"  Lake  Nemi." 

40  X  53 

Loaned  by  Thomas  Newcombe,  Esq. 


585 

DUPR]£  (Jules). 

1812-1889. 

"  Symphony." 

27  X  39 

Loaned  by  Dr.  H.  C.  AngelL 


5S6 

TROYON  (C). 

1813-1865. 

"  A  Drove  of  Cattle  and  Sheep." 

26  X  39 
Loaned  by  Cornelius  Vanderbilt,  Esq. 


86  OTHER   CONTRIBUTORS. 

587 
MILLET  (J.  F.). 

1815-1875. 

"  After  the  Bath." 

13  xgf 

Loaned  by  Alfred  Corning  Clark,  Esq. 


588 

MILLET  (J.  F.). 

1815-1875. 

"  The  Gleaners." 

I4ix  Hi 

Loaned  by  Alfred  Corning  Clark,  Esq. 


589 
DAUBIGNY  (C.  F.). 

1817-1878. 

"Coast  near  Dieppe." 
Loaned  by  Alfred  Corning  Clark,  Esq. 


PAINTINGS.  87 


COROT  (J.  B.  C). 
1796-1875. 

"  Evening." 

l8i  X  24*- 
Loaned  by  Alfred  Corning  Clark,  Esq. 


DELACROIX  (E.). 
I 799-1 863. 

"Christ  at  the  Tomb." 

21  X  18 
Loaned  by  Alfred  Coming  Clark,  Esq. 


DELACROIX  (E.). 
1799-1863. 

"Tiger  Quenching  his  Thirst." 

16  X  15 
Loaned  by  Alfred  Coming  Clark,  Esq. 


88  OTHER   CONTRIBUTORS. 

593 

ROUSSEAU   (Th.). 

1812-1867, 

"  Sunset  in  the  Woods." 

9  X  12 
Loaned  by  Alfred  Coming  Clark,  Esq. 


594 
COROT  (J,  B.  C). 

1796-1875. 

"  Fauns  and  Nymphs." 

40  X  52 

Loaned  by  William  F.  Slater,  Esq. 


595 

DELACROIX  (E.). 

1799-1863. 

"  Christopher  Columbus." 

35x46 

Loaned  by  William  F.  Slater,  Esq. 


PAINTINGS.  89 


596 

G]£rICAULT  (J.  L.  A.  T.). 

I 791-1824. 

"  Lion  Crouching." 

i4i  X  18 
Loaned  by  Cottier  &  Co. 


597 

DECAMPS  (A.  J.). 

1803-1860. 

"  Italian  Shepherd." 

I2i  X  I5i 

Loaned  by  Cottier  &  Co. 


598 
DELACROIX  (E.). 

I 799-1 863. 

«  Christ  on  the  Sea  of  Galilee.' 
Loaned  by  Cottier  &  Co. 


9°  OTHER   CONTRIBUTORS. 

599 

ROUSSEAU  (Th.). 
1812-1867. 

"  The  Valley  of  Tiffauge." 

25  X  40 
Loaned  by  F.  L.  Ames,  Esq. 


600 

ROUSSEAU  (Th.). 

1812-1867. 

'■'  Midsummer  on  the  Oise." 
10  X  15 

Loaned  by  F.  L.  Ames,  Esq. 


601 

MILLET  (J.  F.). 

1815-1875. 

"  La  Baratteuse." 

37i  X  24 
Loaned  by  F.  L.  Ames,  Esq. 


PAINTINGS.  9t 


602 

MILLET  (J.  F.) 

1815-1875. 

«  The  Shepherd." 

I3i  X  10 

Loaned  by  F.  L.  Ames,  Esq. 


603 

COROT  (J.  B.  C.) 

1796-1875. 

"  The  Setting  Sun." 

20  X  28 
Loaned  by  F.  L.  Ames,  Esq. 


604 

DECAMPS  (A.  J.). 
1803-1860. 

"  Le  Frondeur." 

Loaned  by  F.  L.  Ame?,  Esq. 


92  OTHER   CONTRIBUTORS.    . 

605 

DIAZ  (N.). 
1808-1877. 

"  La  Descente  des  Boh^miens." 

24  X  I7i 

Loaned  by  F.  L.  Ames,  Esq. 


606 

TROYON  (C). 
1813-1865. 

"  Le  Garde  Chasse." 

37  X  29 

Loaned  by  F.  L.  Ames,  Esq. 


607 

DELACROIX  (E.). 
I 799-1863. 

"  St.  Sebastian." 

i4i  X  I9i 

Loaned  by  F.  L.  Ames,  Esq. 


PAINTINGS.  93 


608 

MILLET  (J.  F.). 

1815-1875. 

"  November." 

38x55 

Loaned  by  Boussod,  Valadon  &  Co. 


609 

COROT  (J.  B.  C). 
1796-1875. 

"  Evening. " 

45x65 

Loaned  by  Jay  Gould,  Esq. 


6zo 

DIAZ  (N.). 
1808-1877. 

"  The  Old  Forest,  Fontainebleau.' 

29  X  36 
Loaned  by  Jay  Gould,  Esq. 


94  OTHER   CONTRIBUTORS. 

6ii 

MILLET  (J.  F.). 

1815-1875. 

"  La  Naissance  du  Veau." 

20  X  24 

Loaned  by  D.  C.  Lyall,  Esq. 


612 

DELACROIX  (E.). 
1799-1863. 

"  L'Enl^vement  de  Rebecca. 

40  X  32i 
Loaned  by  D.  C.  Lyall,  Esq. 


613 

DELACROIX  (E.). 
1799-1863. 

"  Le  Giaour  et  le  Pacha." 

24  X  29 
Loaned  by  Potter  Palmer,  Esq. 


PAINTINGS.  95 


614 

MILLET  (J.  F.). 
1815-1875. 

"  The  Turkey  Keeper." 

33  X  40 
Loaned  by  Charles  A.  Dana,  Esq. 


615 

DAUBIGNY  (C.  F). 
1817-1878. 

"  Sunset." 

15  X  26i 

Loaned  by  Charles  A.  Dana,  Esq. 


6x6 

COROT  (J.  B.  C). 
1796-1875. 

"  The  Dance  of  Loves." 

54x44 

Loaned  by  Charles  A.  Dana,  Esq. 


96  OTHER   CONTRIBUTORS. 

617 

DIAZ  (N.). 
1808-1877. 

"  The  Frog  Pond." 
Loaned  by  Charles  A.  Dana,  Esq, 


618 

MILLET  (J.  F.). 
1815-1875. 

«  The  Angelus." 

2li  X  25i 

Loaned  by  the  American  Art  Association. 


619 

MILLET  (J.  F.). 
1815-1875. 

"  Pajrsage  d'Auvergne,  Chevri^re. " 

33^  X  39 
Loaned  by  the  American  Art  Association. 


PAINTINGS.  97 


620 

MILLET  (J.  F.). 

1815-1875. 

"  The  Sower." 
Loaned  by  the  American  Art  Association. 


621 

ROUSSEAU  (Th.). 
1812-1867. 

"Forest  of  Fontainebleau." 

20  X  2g 

Loaned  by  the  American  Art  Association. 


622 

COROT  Q.  B.  C). 

1796-1875. 

"  Maisons  des  Pecheurs." 

30  X  26 

Loaned  by  The  American  Art  Association. 
7 


98  OTHER   CONTRIBUTORS. 

623 

"  DELACROIX  (E.). 
I 799-1 863. 

"Lion  and  Lioness." 

X 

Loaned  by  W.  C.  Van  Home,  Esq. 


624 

DELACROIX  (E.). 
I 799-1 863. 

"The  Signal." 

22  X  18 
Loaned  by  Knoedler  &  Co. 


625 

DUPRE  (Jules). 

1812-1889. 

"Twilight." 
Loaned  by  Knoedler  &  Co. 


PAINTINGS.  99 


626 

DAUBIGNY  (C.  F.). 
1817-1878, 

"Village  au  Bord  de  I'Oise,  Soleil  Couchant." 

X 

Loaned  by  George  F.  Baker,  Esq. 


627 

DAUBIGNY  (C.  F.). 

1817-1878. 

"  Marine." 

18  X  32 
Loaned  by  W.  Schaus,  Esq. 


628 

MILLET  (J.  F.). 

1815-1875. 

"  The  Grafter." 

32  X  40 
Loaned  by  W.  Rockefeller,  Esq. 


OTHER   CONTRIBUTORS. 


629 

TROYON  (C). 
1813-1865. 

"Cows  and  Sheep  at  Pasture. 
22  X  32 
Loaned  by  W.  Rockefeller,  Esq. 


630 

DUPRE  QuLEs). 

1812-1889. 

"  L'fetang." 

26  X  36I 
Loaned  by  E.  B.  Warren,  Esq. 


631 

DIAZ  (N.). 
1808-1877. 

"  Coronation  of  Love." 

25  X  18 
Loaned  by  Bray  ton  Ives,  Esq. 


WATER  COLORS,  PASTELS,  ETC.  loi 

WATER  COLORS,  PASTELS,  Etc. 

632 

DELACROIX  (E.). 

1799-1863. 

"  Lion  and  Serpent." 

Water  Color. 

I5i  X  23i 

Loaned  by  W.  T.  Walters,  Esq. 

MILLET  (J.  F.). 

1815-1875. 

"  The  Angelus." 

Crayon. 

13  X  iS 

Loaned  by  W.  T.  Walters,  Esq. 

634 

MILLET  (J.  F.). 

1815-1875. 

"  The  Shepherdess." 

Pastel. 

15  X  20 

Loaned  by  W.  T.  Walters,  Esq. 


I02  OTHER    CONTRIBUTORS. 

635 
MILLET  (J.  F.). 

1815-1875. 

"The  Sower." 

Pastel. 

17  X  io\ 

Loaned  by  W,  T.  Walters,  Esq. 

636 
MILLET  (J.  F.). 

1815-1875 

"  The  Shepherd  at  the  Fold  by  Moonlight." 

Crayon. 

9i  X  I3i 

Loaned  by  W.  T.  Walters,  Esq. 

637 
MILLET  (J.  F.). 

1815-1875. 

"  Le  Gardeuse  des  Vaches." 

Pastel. 

12  X  18 

Ix)aned  by  D.  C.  Lyall,  Esq. 


yVATEX  COLOR Sy  PASTELS,  ETC.  103 


638 

MILLET  (J.  F.)- 

1815-1875. 

"  The  Shepherdess." 

Pastel. 

^6  X  23 

Loaned  by  John  G.  Johnson,  Esq. 


639 

MILLET  (J.  P.). 
1815-1875. 

"  The  First  Steps." 

Pastel. 

12  X  18 

Loaned  by  Knoedler  &  Co. 


640 

MILLET  (FiLS). 

"The  Home  of  Millet"    Barbazon. 

Pastel. 
Loaned  by  the  American  Art  Association. 


I04  OTHER   CONTRIBUTORS. 

641 

ROUSSEAU  (Th.). 
1812-1867. 

"  Landscape." 

India  Ink. 

8x  II 

Loaned  by  W.  Schaus,  Esq. 

642 

ROUSSEAU  (Th.). 

1812-1867. 

"  Landscape." 

Water  Color. 

7i  X  iif 

Loaned  by  Boussod,  Valadon  &  Co. 

643 

DELACROIX  (E.). 

1799-1863. 

«  Lion." 

Water  Color. 

6U6i 

Loaned  by  Mrs.  W.  T.  Blodgett. 


WATER  COLORS,  PASTELS,  ETC.        105 

644 

DELACROIX  (E.). 
1799-1863. 

"  Tiger." 
Water  Color 

Loaned  by  Mrs.  W.  T.  Blodgett. 

645 

MILLET  Q.  F.). 

1815-1875. 

"  Cows." 

Pastel. 

8x  12 

Loaned  by  the  American  Art  Association. 

646 

MILLET  (J.  F.). 

1815-1875. 

"  The  Shepherdess." 

Pastel. 

II  X  16 

Loaned  by  the  American  Art  Association. 


I06  OTHER   CONTRIBUTORS. 

647 

MILLET  (J.  F.). 

1815-1875. 

"  Le  Troupeau  de  Moutons." 

Water  Color. 

10  X  14 

Loaned  by  the  American  Art  Association. 

648 

MILLET  (J.  F.). 

1815-1875- 

"  Gardeuse  de  Chevres  en  Auvergne." 

Pastel. 

22  X  18 

Loaned  by  the  American  Art  Association. 

649 

MILLET  (J.  F.). 

1815-1875. 

"  Meridian." 

Pastel. 

28  X  37 

Loaned  by  the  American  Art  Association.  • 


WATER   COLORS,  PASTELS,  ETC.         107 

650 

MILLET  (J.  F.). 
1815-1875. 

.  »  Killing  the  Hog." 

Pastel. 

27x35 
Loaned  by  the  American  Art  Association. 


UCLA-Art  Library 

NB  553  B289  829 


llii  111  I1 1 
L  006  220  175  1 


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